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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
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XYLOPHONE
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615
Piano & claviers
Piano seul
386
Piano, Voix
235
Piano Facile
104
Accompagnement Piano
30
1 Piano, 4 mains
15
Orgue
14
Piano, Voix et Guitare
13
Instruments en Do
4
Piano Trio: piano, violon, violoncelle
4
2 Pianos, 4 mains
2
1 Piano, 6 mains
1
Piano grosses notes
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Clavecin
1
2 Pianos, 8 mains
1
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Guitare
63
Guitare notes et tablatures
49
Ukulele
13
Piano, Guitare (duo)
4
2 Guitares (duo)
3
Ligne De Mélodie, (Paroles) et Accords
3
3 Guitares (trio)
2
Basse electrique
2
Dulcimer
1
Mandoline
1
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Voix
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159
Chorale SATB
118
Chorale TTBB
111
Chorale 3 parties
75
Chorale 2 parties
42
Voix duo, Piano
11
Chorale Unison
9
Voix moyenne, Piano
2
Voix Baryton, Piano
2
Voix haute
2
Voix seule
2
Voix duo
1
Voix Tenor, Piano
1
Voix Mezzo-Soprano, Piano
1
+ 9 instrumentations
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Vents
Flûte traversière et Piano
48
Quatuor de Saxophones: 4 saxophones
48
Clarinette et Piano
42
2 Flûtes traversières (duo)
26
Flûte, Hautbois, Clarinette, Basson
26
2 Flûtes traversières, Piano
25
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
25
Hautbois, Piano (duo)
25
Saxophone Alto et Piano
20
Quatuor de Clarinettes: 4 clarinettes
17
Clarinette (partie séparée)
17
Quatuor de Flûtes : 4 flûtes
16
Ensemble de Flûtes
16
Saxophone Soprano et Piano
15
Flûte traversière
15
Saxophone Tenor et Piano
14
Saxophone Baryton, Piano
12
2 Saxophones (duo)
11
Flûte, Clarinette (duo)
11
Quintette de Saxophone: 5 saxophones
11
2 Clarinettes (duo)
10
Ensemble de saxophones
10
Ensemble de Clarinettes
10
Hautbois (partie séparée)
7
Saxophone (partie séparée)
6
Flûte à bec Soprano
6
Clarinette
5
Flûte à bec Alto
5
Flûte, Clarinette, Piano (trio)
5
Cor anglais, Piano
4
2 Hautbois (duo)
4
Clarinette Basse, Piano
4
Saxophone Alto
3
3 Clarinettes (trio)
3
Flûte, Violon, Piano
3
Saxophone
3
3 Saxophones (trio)
3
Flute (partie séparée)
3
Saxophone Tenor
2
Flûte, Clarinette et Basson
2
Clarinette, Harpe (duo)
2
Flûte et Guitare
2
Flûte, Basson et Piano
2
Trio de Flûtes: 3 flûtes
2
Hautbois, Basson (duo)
2
Flûte, Hautbois, Clarinette (trio)
1
Clarinette, Guitare (duo)
1
Ensemble De Flûte à bec
1
Flûte à bec Tenor
1
Clarinette, Basson (duo)
1
Clarinette Basse
1
3 Flûtes à bec (trio)
1
Quintette de Flûte : 5 flûtes
1
Flûte, Hautbois (duo)
1
+ 49 instrumentations
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Cuivres
Quatuor de cuivres: 4 trombones
40
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
40
Trombone et Piano
34
Trompette, Piano
28
Cor et Piano
23
Quatuor de Cuivres : 2 trompettes, trombone, tuba
20
Tuba et Piano
16
Ensemble de Trompettes
14
Quatuor de Cuivres: 2 trompettes, Cor, trombone
13
Trompette
13
Trompette (partie séparée)
12
Euphonium, Piano (duo)
9
Quatuor de Cuivres
6
Cor (partie séparée)
6
Trombone (partie séparée)
6
2 Trompettes (duo)
5
3 Trombones (trio)
5
Tuba (partie séparée)
4
Cor anglais, Piano
4
2 Cors (duo)
4
Ensemble de Trombones
3
Trombone
3
Trompette, Trombone (duo)
3
2 Trombones (duo)
3
Euphonium
2
Trombone basse
2
Cor
2
2 Tubas (duo)
2
Cor, Violoncelle (duo)
1
Quatuor de cuivres: 4 cors
1
Quatuor de cuivres: 4 trompettes
1
Bass Clef Instruments
1
Tuba
1
Ensemble de Cors
1
Clarinette, Cor (duo)
1
Cor et Harpe
1
3 Trompettes (trio)
1
Trompette, Harpe
1
+ 33 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
95
Violon (partie séparée)
71
Violon et Piano
51
Violoncelle, Piano
39
Harpe
36
Alto, Piano
33
Trio à Cordes: violon, alto, violoncelle
31
Contrebasse (partie séparée)
22
Alto (partie séparée)
20
Violoncelle (partie séparée)
17
2 Violons (duo)
15
Contrebasse, Piano (duo)
12
Violon
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
Violon, Violoncelle (duo)
6
2 Violoncelles (duo)
5
Harpe, Flûte (duo)
5
2 Altos (duo)
5
Violoncelle
5
Trio à Cordes: 2 violons, violoncelle
4
Violon, Alto (duo)
4
Alto seul
3
4 Violoncelles
3
Harpe, Violon (duo)
2
2 Contrebasses (duo)
2
Violon, Guitare (duo)
2
Contre Basse
2
Alto, Violoncelle (duo)
2
Alto et Harpe
1
Harpe, Violoncelle (duo)
1
Violon, Clarinette, Piano (trio)
1
Harpe, Violon, Violoncelle
1
Violoncelle , Guitare (duo)
1
Ensemble d'Altos
1
Harpe, Trombone (duo)
1
Ensemble de Violons
1
Trio à cordes: 3 violins
1
Trio à Cordes: 3 violoncelles
1
Trio à cordes: 3 altos
1
Quatuor à cordes : 4 altos
1
+ 35 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
1 484
Orchestre à Cordes
218
Orchestre
59
Ensemble Jazz
39
Cloches
39
Orchestre de chambre
18
Ensemble de cuivres
18
Percussion (partie séparée)
10
Xylophone, Piano
5
Fanfare
5
Marimba
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Ensemble de Percussions
5
Jazz combo
4
2 Xylophones
4
Batterie
1
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--INSTRUMENTS--
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Trompette, Trombone (duo)
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Gabrieli: Canzon Septimi Toni Ch. 172 for Trumpet & Trombone Double Choir
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Trompette, Trombone (duo)
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FACILE
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Giovanni Gabrieli
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James M
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1 Bass Trombone
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Gabrieli: Canzon Septimi Toni
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jmsgu3
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SheetMusicPlus
Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Fes...
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Brass Ensemble Trombone,Trumpet - Level 2 - SKU: A0.1224064 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #820156. Published by jmsgu3 (A0.1224064). From Sacrae Symphoniae, Venice, 1597Minimum instrumentation: Two choirs of 2 Trumpets, 1 Tenor Trombone & 1 Bass Trombone.InnovationsFirst of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Sonata Pian e Forte, Ch. 175 for Trumpet & Trombone Choir
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Trompette, Trombone (duo)
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FACILE
#
Giovanni Gabrieli
#
James M
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Gabrieli: Sonata Pian e Forte,
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jmsgu3
#
SheetMusicPlus
Brass Band Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Fes...
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Brass Band Trombone,Trumpet,Tuba - Level 2 - SKU: A0.1220622 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Contest,Early Music,Festival,Historic,Instructional,Renaissance. Score and Parts. 45 pages. Jmsgu3 #816951. Published by jmsgu3 (A0.1220622). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 Trumpets, 2 Alto Trombones, 3 Tenor Trombones, 1 Bass Trombone, and 1 Tuba. Suggested instrumentation: 8 trumpets, 4 Alto Trombones, 6 Tenor Trombones, 2 Bass Trombones, 4 Tubas.InnovationsFirst of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which he calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Spring Spirits
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Trompette, Trombone (duo)
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INTERMÉDIAIRE
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Lori Archer Sutherland
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Spring Spirits
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Lori Archer Sutherland
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - SKU: A0.765038 Composed by Lori Archer Sutherland. Contemporary,Standards. Score and pa...
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Instrumental Duet Instrumental Duet,Trombone,Trumpet - Level 3 - SKU: A0.765038 Composed by Lori Archer Sutherland. Contemporary,Standards. Score and parts. 6 pages. Lori Archer Sutherland #4969155. Published by Lori Archer Sutherland (A0.765038). Two copies of the performance score are included in the PDF, one for each performer. For trumpet and trombone duet The season of spring, at least here in the Midwest, is full of contradictions. It is windy and chilly one day, and beautiful and sunny the next. The first section represents the stormy side of spring. The sun appears in the middle section to brighten things up, the second voice taking over the melody. The storms reappear for the final section, reminding us that summer has not yet come. Suitable for solo and ensemble contest.Also available for trumpet/horn duet (S0.670531) and horn duet (S0.583941).
$6.00
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